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Alberto Miguélez Rouco Alberto Miguélez Rouco Anquises , young shepherd of Mount Ida Giulia Semenzato, soprano Venus , goddess of love Natalie Pérez, mezzo-soprano Eumene , nymph of Diana Alicia Amo, soprano Diana , goddess of the hunt Eva María Soler Boix, soprano Brújula , Títiro’s fiancée Amalia Montero Neira, soprano Títiro , Anquises’ servant Yannick Debus, baritone Narrator Javier Dotú f Los Elementos Claudio Rado, concertmaster Alberto Miguélez Rouco harpsichord & musical direction Choir Orchestra soprano violin i bassoon Alicia Amo Claudio Rado (concertmaster) Áurea Domínguez Simona Buchwalder Rahel Wittling Vera Hiltbrunner Ismael Normand trumpet Jeanne-Marie Lelièvre (Selenisa) Aliza Vicente Jean-François Madeuf Amalia Montero Neira Julian Zimmermann Natalie Pérez violin ii Cécilia Roumy Lathika Vithanage French horn Giulia Semenzato Natalie Carducci Alexandre Zanetta Eva María Soler Boix Beatriz López Paz Jules Lézy tenor viola timpani Yannick Debus Giorgio Chinnici Oded Geizhals (tracks with trumpets) Sebastián León Nadja Lesaulnier Breno Quinderé timpani, drums and thunder Michael Schwarze violoncello Philip Tarr Thomas Chigioni archlute and baroque guitar double bass Pablo FitzGerald Teodoro Baù theorbo and baroque guitar flute Lorenzo Abate Pablo Gigosos Rico Luis Martínez Pueyo harpsichord Joan Boronat Sanz oboe Olga Marulanda Clara Espinosa Encinas 4 Los Elementos. Orchestra & Choir 5 José de Nebra (1702-1768) Vendado es Amor, no es ciego Zarzuela en dos jornadas. Madrid, 1744 Libretto by José de Cañizares cd 1 [66:13] Jornada primera 01 Obertura 3:32 02 Minués 1:59 03 Cuatro: Al valle, ninfas, al valle (Choir) 0:57 04 Narrator: Damas, caballeros... 0:52 05 Cuatro: Tomad las veredas (Selenisa, Choir) 0:29 06 Narrator: Eumene, una de las ninfas... 0:17 07 Seguidillas: En amor pastorcillos (Anquises) 0:48 08 Narrator: Advertí a mi amo... 0:13 09 Seguidillas: Que no vive un amante (Anquises) 0:49 10 Narrator: Entonces Eumene... 0:07 11 Recitado: No, pastor inocente (Eumene) 1:09 12 Aria: Gozaba el ánimo paz y contento (Eumene) 8:11 13 Narrator: A pesar de las dulces palabras... 0:06 14 Cuatro: Pues Anquises desprecia (Choir) 0:20 15 Narrator: Mientras Nicteo... 0:10 16 Cuatro: Pues Anquises desprecia (Choir) 0:21 17 Narrator: Venus, diosa del amor... 0:15 18 Canción y cuatro: Napeas del bosque (Venus, Choir) 1:59 6 19 Recitado: No presuma Diana (Venus, Anquises) 1:49 20 Aria: ¿Quién, cielos? (Venus) 5:46 21 Recitado: Hermosísima imagen (Venus, Anquises) 1:30 22 Aria: Esta flecha que me hirió (Anquises) 6:17 23 Recitado: Pastorcillo, ¿qué dices? (Venus, Anquises) 1:14 24 Dúo: Seré un mármol (Anquises, Venus) 3:08 25 Narrator: Tal era la hermosura... 0:11 26 Recitado: Ya, Eumene mía (Diana, Eumene) 1:46 27 Recitado acompañado: Hados crueles (Eumene) 1:19 28 Aria: El bajel que no recela (Eumene) 4:44 29 Narrator: Llegados a este punto... 0:39 30 Recitado: No pensaba en casarse (Brújula) 1:49 31 Aria: De un ojo era falta (Brújula) 6:38 32 Narrator: Tras este pequeño paréntesis... 0:30 33 Aria a cuatro: ¿Qué motivo te hace, Eumene? (Anquises, Diana, Eumene, Venus) 6:03 cd 1i [59:30] Jornada segunda 01 Narrator: Venus, ansiosa por descubrir... 0:24 02 Recitado acompañado: Ciegue, clame y suspire (Venus) 1:20 03 Aria: Quien fió de un mar sereno (Venus) 6:31 04 Narrator: Desconocedor del peligro... 0:18 05 Recitado: Joven, yo te confieso (Diana) 0:56 06 Aria: Yo haré ese lamento (Diana) 8:12 07 Narrator: De repente, nada más partir Diana... 0:29 08 Recitado: Ah, pícaro, ladrón (Brújula) 1:07 09 Aria: Esta chula cara (Brújula) 6:08 7 10 Narrator: Anquises es llevado... 0:10 11 Recitado: Ninfas hermosas (Venus) 0:47 12 Aria: Yo seré la primera (Venus) 6:42 13 Narrator: A pesar de su enojo... 0:15 14 Cuatro: Pues el tirano Anquises (Choir) 0:37 15 Narrator: La joven, todavía enamorada... 0:09 16 Recitado acompañado: Estos tejidos lazos (Eumene) 2:41 17 Aria: Adiós, ingrato, dueño traidor (Eumene) 5:15 18 Narrator: Al ver cómo la joven Eumene... 0:27 19 Cuatro: Pues el tirano Anquises (Choir) 0:36 20 Narrator: Diana le ofrece su protección... 0:10 21 Recitado: Estoy tanto, que antes que siga (Anquises) 0:51 22 Aria: Batalla con mi pecho (Anquises) 4:59 23 Narrator: Apenas jurarle Anquises... 0:14 24 Trío: Bramen los truenos (Anquises, Diana, Venus) 1:44 25 Narrator: Mientras las dos diosas... 0:18 26 Seguidillas y fandango: Tempestad grande, amigo (Brújula, Títiro) 4:39 27 Narrator: Tras la tormenta... 0:22 28 Cuatro: Pues a Cupido la venda (Choir) 0:46 29 Narrator: En el templo de Júpiter... 0:28 30 Cuatro: Pues a Cupido la venda (Choir) 0:22 31 Narrator: Y fue entonces... 0:16 32 Cuatro: Pues a Cupido la venda (Choir) 0:56 8 A co-production of the Schola Cantorum Basiliensis / Hochschule für Musik fhnw and ensemble Los Elementos Recorded in Riehen (Saal des Landgasthofs), Switzerland, on 10-17 September 2019 Recording producer: Andreas Neubronner (Tritonus Stuttgart) | Assistance: Andreas Ruge Editing and mastering: Pablo Barreiro Executive producer: Alberto Miguélez Rouco Photographs: Susanna Drescher | Design: Rosa Tendero Editorial director scb : Thomas Drescher | Assistance: Claudia Schärli, Brigitte Schaffner Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Musical edition: © 2019 Alberto Miguélez Rouco Compilation of the spoken parts: Xulio Loureiro González, Luis Chitarroni All texts and translations © 2020 Schola Cantorum Basiliensis fhnw © 2020 note 1 music gmbh We would like to thank: Sulger -S tiftung for supporting this production Special thanks to Rosa Domínguez and Pablo Carballido del Camino for their valuable support in the realization of this recording Schola Cantorum Basiliensis – Hochschule für Musik Fachhochschule Nordwestschweiz | Musik Akademie Basel 9 English increasingly lavish musical interludes. The name of this specific Spanish form of musical theatre comes from the Palacio de la Zarzuela, a royal hunting lodge José de Nebra near Madrid in which the first works of this kind were performed in the seventeenth century. Vendado es Amor, no es ciego Simple forms, which could be sung by the actors, were initially chosen for the music. Specifically, it was mostly women who sang, for in the Spanish theatre i. gods, love, passion of the time they played both the female as well as the male roles. However, the popularity of the zarzuelas Starting in the second half of the fifteenth century, led to a development in which the music increasingly the era of the “Catholic Monarchs” Ferdinand and received more significance. An additional factor was Isabella, Spain developed a strong cultural identity. a decisive cultural transition when in 1714, after the This was based, on the one hand, on the Catholic War of the Spanish Succession, the Bourbons took faith and the Holy Inquisition and manifested itself over from the Habsburgs, and now French and, above politically in the expulsion of the Jews and in the all, Italian music gained in importance. Influential Reconquista. On the other hand, the consciousness Italian artists were active at the Spanish court, the of a characteristic Spanish style of art evolved at the most well-known of whom were certainly Domenico same time, which especially in the sixteenth and seven - Scarlatti, who lived in Madrid from 1729, and the cas - teenth centuries brought forth works of European trato Carlo Broschi, better known under his stage standing in architecture, painting, music and litera - name “Farinelli”, who starting in 1737 likewise served ture by great artists such as El Greco, Velázquez and at court and enjoyed great artistic and political influ - Murillo, the composers Tomás Luis de Victoria and ence until 1759. Cristóbal de Morales and the outstanding poets From the 1720s, the importance of Italian opera Miguel de Cervantes and Pedro Calderón de la Barca. grew and, with the newly built Teatro de los Caños Thus, towards the middle of the seventeenth del Peral, finally received its own house in 1738. This century, a new musical art form, the zarzuela, arose in inevitably had an effect on the zarzuela, whose the Spanish theatre. One could consider it an early musical formats now became more expansive, for form of the Singspiel, and great authors such as example in the form of reprise structures in the arias. Calderón numbered among its originators. The genre Within the theatre companies, talented women spe - emerged when theatre pieces were provided with cialised in singing so that the music as a whole could 10 English be fashioned more ambitiously. A distinctive feature the Spanish heir to the throne. In 1737 the newly built of theatrical performance was also carried over into Teatro de la Cruz was opened with a Spanish version the music: the (musical) ensembles with several pro - of Metastasio’s Adriano in Siria , for which Nebra com - tagonists, on the one hand in choirs, on the other posed the music. Nebra’s four preserved zarzuelas all hand in “arias a 3” and “a 4”. date from the 1740s. Among these is Vendado es Amor, The subject matter mostly stemmed from no es ciego (“Amor’s/Love’s eyes are bound, but he/she is mythological tradition with preference given to pas - not blind” – in Spanish “Amor” stands for the god as toral stories told in a predominantly light tone, where - well as the emotion and the ambiguity does not need by the plots were set in typical baroque action pat - to be resolved), which was performed for the first terns with very “human” entanglements of the protag - time on 3 August 1744, most probably in the Teatro de onists in elaborately constructed conflicts having to la Cruz in Madrid by José de Parra’s theatre company.
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